MOUNT VERNON, WA BAND PROGRAM
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Student Instrument Guide and Technique Assignment

Every year at MVHS, your first semester project will be to complete this Instrument Guide. Download the attachment above and begin working on it as soon as possible. Different parts of the assignments will be due throughout the first semester. We hope you will find this information beneficial to your understanding of your instrument. This project is in conjunction with Mr. Scherr’s Master Degree through the American Band College.
Index
    The Oboe Family
    Equipment and Materials
        - Parts of the Oboe
        - Required Equipment
        - Body Materials
    Maintenance, Instrument Brands, Upgrades
    Types of Oboe and Purchasing a Oboe
    Assembling the Oboe
    Playing Posture
    Bassoon Embouchure
    Tone Concepts
    Vibrato
    Tone Production Problems and Remedies
    Making Reeds: Intermediate - Advanced Players Only
    Fingerings Charts
    Common Pitch Problems - Tuning Guide
    Warm Up Suggestions
    Method  Books
    Solo Literature
    Extended Technique
    Resources and Helpful Links
    Youtube Videos

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The Oboe Instrument Family

Piccolo Oboe (Musette Oboe): The piccolo oboe, also known as the piccoloboe and historically called an oboe musette, is the smallest and highest pitched member of the oboe family. Pitched in E-flat or F above the regular oboe (which is a C instrument), the piccolo oboe is a sopranino version of the oboe, comparable to the E-flat clarinet.

Oboe: Known originally as the Hautbois, the Oboe is pitched in concert C, and has a density of sound, & warm and supple tone that has made it well loved by musicians & music lovers around the world since it’s first creation and use in the 17th Century.

Oboe D'Amore: The Oboe D’amore is the ‘mezzo-soprano’ Oboe in the Oboe Family. It has a crook and pear-shaped bell like the English Horn, and uses the same fingering as the Oboe, but is pitched a minor 3rd below in A. The Oboe d’amore produces a slightly mellower and quieter sound than the Oboe. Called the ‘love Oboe’ by Bernard Shaw, the origins of its name are unfortunately widely unknown.
English Horn or (Cor Anglais): The English Horn, or ‘Cor’ as it is often affectionately called, was first created sometime in the 17th century. It has a deeper, more sonorous, rounder sound than the Oboe, and is quite frequently used for this attribute.

Bass Oboe (Baritone Oboe): The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of a regular (soprano) oboe and sounds an octave lower; it has a deep, full tone not unlike that of its higher-pitched cousin, the English horn. The bass oboe is notated in the treble clef, sounding one octave lower than written.The instrument's bocal or crook first curves away from and then toward the player (unlike the bocal/crook of the English horn and oboe d'amore), and looks rather like a flattened metal question mark. The bass oboe uses its own double reed, similar to but larger than that of the English horn.

Heckelphone: The heckelphone is approximately four feet in length, and is quite heavy: it rests on the floor, supported by a short metal peg attached to the underside of its bulbous bell. An alternate second bell, called a "muting" bell, is also available, which serves to muffle the instrument for playing in a small ensemble. This arrangement is unique among double-reed instruments. It is played with a large double reed that more closely resembles a bassoon's than an oboe's reed.

Equipment and Materials

Needed Equipment
        1. Reed case
            - Get a kind where the reeds lay in
            - Don't store them in plastic tubes so reeds don't dry up
            - I recommend the six reed case from Miller Marketing
        2. Swab
            -Silk swab that pulls through the instrument
            - Must not have any knots in string or folds in silk.
        3. Cigarette or perm paper
            - To soak up water in tone holes to stop gurgles.
            - Do not use regular paper or facial tissues
        4. Case humidifier if have wood instrument for winter or dry climates
        5. Small screw driver
        6. Case cover, especially for wood instruments
        7. Tuner

Oboe Maintenance

Assembly
Grease tenon corks with cork grease before assembly so that they work freely. Dry, tight corks may cause bent keys or broken tenons during assembly. Grasp the upper joint with the left hand near the bottom and the lower joint with the right hand near the bottom and carefully push the two joints together with a slight back and forth twisting motion. Line up the bridge keys carefully to avoid meshing them together and bending them. Grasp the lower joint near the bottom and attach the bell. If the bell has a key mechanism, be careful to line up the bell’s key mechanism with that of the lower joint and avoid bending them. Insert the reed into the receiver at the top of the oboe holding it by the cork. NOTE: The oboe should NEVER be stood upright on its bell on the floor or any other surface! It will easily fall in that position resulting in very serious consequences.

Daily Cleaning
The inside of the oboe should be cleaned after playing with feathers or an oboe cleaning swab. The reed should be stored in a vented case in order to allow it to dry.  Note: Chewing gum, soft drinks, and other foods containing sugar are very harmful to oboe pads. Avoid these things whenever possible before playing or rinse your mouth thoroughly before playing the instrument.

NEVER:
* Run water through the oboe or submerse it in water.
* Turn the adjustment screws found on some of the keys--these are regulating screws and should not be tightened or loosened by the player.
* Use materials, oils, or other products not specifically designed for use in oboe maintenance.

Instrument Brands and Purchasing an Oboe

Body Materials
Oboes are made of grenadilla wood or high quality plastics, generally known as resonite. Grenadilla has a long tradition of use by professional oboists worldwide because of its warm, rich tone. However, the quality of non-wood instruments has risen to a highly respected level, making them popular with both students and professionals.

The plastic resin used for manufacturing instruments is highly stable and durable. Plastic oboes require less maintenance and are not susceptible to cracking.

Many of the most respected oboe manufacturers offer their professional model oboes in plastic or with a plastic upper joint in place of traditional grenadilla wood. This is advantageous because the upper joint on the oboe is the portion most likely to experience cracking due to fluctuations in temperature and humidity.

Student Oboes:
Student oboes provide an excellent start for the first few years of music education. Oboes designed for students are made of grenadilla wood or plastic. For younger beginners plastic is the ideal material because it is very durable. Grenadilla is great for a beginning oboe player who started on another instrument, such as clarinet. Also student oboes also have fewer keys than intermediate or professional instruments. However, the keys available on a student oboe will not limit the beginner's ability to perform in a concert band when more complicated pieces of music are introduced in high school or college.

Intermediate Oboes:
Higher quality materials, more keys and some hand refinement separate a intermediate oboes from student oboes. Once a student is established and is learning the fundamentals of good playing, it is important to purchase an intermediate instrument to continue his or her musical growth.

Professional:
Designed and constructed with professional musicians in mind, professional oboes find favor among more serious students as well. Most professional oboes are made of all grenadilla wood, however, a few feature a crack-proof upper joint made of plastic with a grenadilla lower joint and bell. Professional oboes also feature a system of keys referred to as a full conservatory. The full conservatory is necessary for advanced pieces of music, aiding in access to certain keys and an even dynamic range.

Recommended Oboe Brands
  • F. Loree Paris 
  • Fox: Fox are one of the best brands students can buy. If you buy an oboe you must buy an oboe with a  full conservatory fingering system
  • Hiniker
  • Puchner
  • Marigaux
  • Howarth
  • Yamaha
Key Options

Low Bb: This key extends the range of the oboe to low Bb. Basic student models typically only play to low B natural. Open holes in the bell without a mechanism or key to cover them indicate there is not a low Bb on the oboe.

Left Hand F Key: This is essential to more advanced players in executing certain passages, and in choosing the desired tone color. The left hand F key allows the player an alternative fingering for playing F. Depending on preference, a forked-F is another option.

Forked F and Bb Resonance Keys: These improve the quality and pitch of their respective notes. Some basic student models, as well as professional Tabuteau oboes, do not have these resonance keys.

Ab-Bb Trill Mechanism: This greatly simplifies the fingering of this trill. Without this mechanism, creating a true trill between these two notes is not possible.

G#-A Trill Key:
Depression of this key simplifies the trill and improves the intonation of the A. 

Double Ring D#-E: This mechanism allows an easy fingering for the trill and improves the intonation of the E.

Left Hand C-D Trill: Provides an alternative to the right hand C-D trill lever.

Auxiliary Low C: This key facilitates the low C to C# transition and simplifies the trill.


Low B-C# Trill Mechanism:  Allows for a seamless transition in executing this trill.

Assembling the Oboe

  1. Attach the bell to the bottom joint. If you have a low Bb key, hold it closed while assembling the joints.
  2. Line up the posts so that the bridge keys will close the Bb.
  3. Assemble the upper and lower joints, holding the top of the upper joint and the bottom of the lower joint. Align the main key posts rather than the bridge keys.
  4. To assemble cork joints, gently twist the two parts until they come together.
  5. Hold the upper joint, avoiding any keys, and insert the reed all the way.
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Playing Posture

    1. Body Position
        a. Sit on front of chair
        b. No part of the body touches any other part of the body
        c. Chin parallel to floor.
        d. Oboe bell in front of knees similar to clarinet
        e. Tone determined by angle
    2. Hand position
        a. Right Hand
            - Thumb "half and half" under the thumb rest.
            - Curved fingers over all keys.
            - Pinky rests on low C key
        b. Left Hand
            - Thumb either on octave key or right below.
                    - Doesn't float (like clarinet) or squeeze (like saxophone)
            - First finger on tip slanting toward side octave (very important)
                    - Large join of first finger should be close to octave key.
            - Curved fingers over all keys.
            - Pinky rests on low B key.
            - Practice moving fingers up and down separately and together
                    - Fingers lift only as high as key height

Oboe Reeds

    1. For Beginners commercial are OKAY.....
        a. Lesher medium or medium Hard (Soft reeds don't speak well)
        b. Fox Artist Medium or Medium Hard
        c. Emerald Medium
        d. Need to use harder reed so get used to resistance

    2. For advanced, professionally hand made.
        a. Many to select from online
        b. If Trying new reed source, buy 2 or 3

    3. NO FIBER CANE - NO WIRES ON REEDS - NO FRENCH (SHORT) SCRAPE----->
        a. If reed doesn't seal or out of tune, return.

    4. When you find a supplier you like
        a. Order large number.
        b. Order often.
Remember everyone has festival/contest at the same time.... (ORDER AHEAD OF TIME)

ADJUSTING THE COMMERCIAL OBOE REED
It is important to know the techniques used in adjusting commercial reeds.
The following four pieces of simple equipment are essential for students to begin adjusting reeds:

A SHARP KNIFE:
A sharp knife for scraping the reed is the most important tool. It can be purchased from reed making suppliers or handmade. The blade may be either hollow ground or with a beveled edge. A sharpening stone and honing oil are also important. It is necessary to keep the knife-edge sharp and free from nicks.

PLAQUE:
The plaque is a small piece of metal that is inserted between the blades of the reed while scraping. It supports the blades. Plaques are available commercially or they can be handmade
from a single-edge razor blade.

CUTTING BLOCK:
The cutting block is used to support the tip of the reed while clipping it with the knife. They are available commercially or can be handmade from a piece of hardwood that has been smoothly sanded to eliminate all grooves.

FISHSKIN:
Commercially, fishskin is called “Goldbeaters Skin”. It is used to seal the sides of the reed without adding weight to the reed. Added weight will inhibit the reed’s vibrating qualities. A reed must not leak air below the portion that is in the mouth. Cut a strip of fishskin about 11⁄2”
by 1/4”. While slightly moistened, pull the strip of fish- skin tightly around the reed, starting midway or less up the reed. Pull tightly around the reed spiraling down- ward until it overlaps the top of the winding thread. Do not over moisten. If the fishskin is too wet it will shrivel up and disappear. A little practice is necessary to handle it correctly.

PITCH OF THE REED
Pitch of the reed is determined by:
1. LENGTH of the reed – The reed should play in tune when it is inserted into the oboe to the stopping point. 70-72mm is a good average total reed length for most instruments and players.

2. OPENING of the reed is equally important. Reed openings can be easily adjusted.
A reed that is too open will usually play flat. A reed which has a too-closed opening will tend to be sharper in pitch. Old and worn-out reeds become more closed and become too sharp in pitch.

The opening of the reed is an important factor for other reasons as well. If a reed is too open, players are forced to “bite”, whether they are aware of it or not, and the embouchure will quickly fatigue. If the reed is too-closed, it is impossible to blow into it with adequate breath support.
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Making Your Own Reed

    1. Getting Started
        a. YOU NEED a professional to teach you. Do not attempt this on your own.
        b. Don't buy commercial reed making kit
        c. At first, most don't turn out

    2. Tips to adjusting reeds
        a. IF FLAT
            - Lightly scrape or sand tip
            - Clip tiny amount from end of tip
            - If too open, flex by pinching tip closed and gently work back with fingers
            - Can scrape in the "w" part

        b. IF SHARP
            - Harder to adjust
            - Apply pressure perpendicular to reed to make open.
            - Sandpaper heart area some.
            - Lower the "w" at bottom of the back
            - Sand tip on sides and corners
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Embouchure

Characteristic of a Good Embouchure   
Step 1: - Drop jaw open
            - Teeth far apart as possible (say home or oh).
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Step 2: - Push the corners in toward teh center
            - Top lip like clock at 10 or 2. Pull down and over teeth.
            - Keep the inside of the mouth open and round by saying "OH"
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Step 3: - Lay reed on center of bottom lip at 45 degree angle
            - Closer to tip than string
            - Tip of reed behind top teeth
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Step 4: - Roll in Slightly
             - Inhale through mouth, leaving reed on bottom lip.
             - Close around reed and blow
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        - Reed should be fairly firm and secure in mouth,
        - Teeth provide support for lips, not for reed.
        - Lips support reed.
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Embouchure Syllables
"oh" lowest register
"ah" around middle C
"oo" first octave key G
"ee" high D

Things to Avoid
Pancake, smile
Syllable "ee"
Too much reed in mouth
Biting reed
 Pulling cheeks
Bunched chin

Fingerings

There are eight harmonic tones available on the oboe. These tones, with their respective fingerings, are given below.

In each case, the fingering is simply that of the tone a twelfth lower, with the addition of one of the octave keys. These harmonics are produced as the third partials of their respective fundamentals, and the tone quality tends to be softer, more “covered,” and more stable than if the same pitches were played with the conventional fingerings. Harmonics from G# through C are not available on oboes with automatic octave keys.
As has been mentioned earlier, the thumb octave key is used for fourth-space E through G# and the side octave
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key is used for A through C above the staff. The C#, D, and D# in the staff are played with the half-hole. This means that the small vent hole for the left forefinger must be open while the plate itself is closed. This vent hole acts as an additional octave key. Students often tend to be careless about the use of the half-hole and the octave keys, and it is the responsibility of the teacher to correct such inaccuracies.
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http://www.oboetrainer.com/

Tonguing

    1. Tip of tongue touches tip of reed (tu or ta).
    2. Sometimes can teach tonguing on reed first.
    3. Must have Propper handposition first
    4. Must have achieve a successful tone first.
    5. Start with legato tongue first on one note.
        - Stop whole notes on beat one of next measure
        - Must not stop note with tongue
                - Must monitor this constantly
        - All notes touch
        - Teach different notes values
    6.  After one note articulation is mastered start learing finger-tongue         by moving notes

Vibrato

Vibrato on the oboe is like a vocal vibrato: it is the natural result of a mature and efficient tone production technique. Thus, while it is rare to find a fourteen year old singer with a decent vibrato, it is just as rare to find a thirty year old singer without one. As technique and physique develop, so does vibrato. Thus, the placement of the vibrato ­ the long-standing rivalry between "throat" and "diaphragm" vibratos ­ is largely imaginary. The actual vibrato is created around the larynx, felt high in the chest. The player may perceive the origin differently, but that's where it ends up.

Many instructors prefer to teach tone production and let the vibrato come naturally, which it usually does. For those rare occasions when it doesn't, a regimen of controlled abdominal thrusts usually gets it started. The exercise is likely familiar to anyone who has ever studied the oboe ­ gradually increase the speed of abdominal bumps until they reach five or so per second. At that point, a sympathetic vibrato in the upper chest will become apparent and should be encouraged. Once reliable, refinement can begin.

                        Exercise (to develop a natural, singing vibrato)
    a. Need to teach as is part of characteristic sound.
    b. Throat is most common way.
    c. Similar to whistling
            - Whistle "Yankee Doodle" to feel sensation
            - Use throat muscle, no tonguing.
    d. Method
        - Use metronome and set around 60
        - Use half hole D or D#/Eb
        - Do on single note
        - Expand to scales without tonguing
        - Start on D, crescendo to E, decrescendo to D and vibrato violently
        - Keep increasing metronome speed
        - Incorporate on all notes 2 beats or longer
        - Don't always feel progress - just begin to be there
        - Let it evolve
Use a metronome setting of 60 as your pulse. Begin by sustaining a tone (use an easy, free, note in the middle of the staff) and "bumping" it very hard from the abdomen once each pulse. In other words, make a very fast crescendo/diminuendo once each second. It needs to be quick and firm ­ rather like driving over a speed bump too fast. When this is consistent, increase the speed to twice per second, then three times, then four, up to five. As the speed increases, the bumps will gradually become less violent.

At around four pulses per second, a sympathic vibrato will begin to be felt around the larynx ­ the student will perceive it at the very bottom of the neck where it meets the chest. It is this vibrato that we want to encourage. The whole point of the pulsing exercise is to cause this sympathetic vibrato to occur. Once it does, the abdominal pulses can cease and the support held steady, while the vibrato takes place in the upper chest. It will take the student some time to learn to control and refine this, but they will eventually gain a beautiful singing vibrato.

Vibrato produced in this way is completely natural, but rather air-speed dependent. If the air intensity drops too low (which it will when playing very softly, for instance), the vibrato will cease to occur by itself. However, after enough experience with producing it naturally, the student will also learn to create the same mechanism "artificially" to apply vibrato in any situation.

A few notes on the use of vibrato: Vibrato is decoration. It is not an essential part of oboe sound; it is an expressive device used to help explain the music. Vibrato used continuously is no more interesting than no vibrato at all. Be sure to use it with discretion. Be sure to use it only after the basic tone and phrase are beautiful ­ think of it as painting a piece of furniture. If the piece is ugly or damaged, or even merely scratched, paint won't help it look better. Be very attentive that you are not using vibrato to hide an underlying lack of integrity or intensity in your tone production.

                                                                                                                 Exercise (very difficult)
Play any slow Ferling etude with no vibrato at all. Make all of your dynamic and color changes; play all the nuances and inflections you want, but don't use any vibrato. Only after you can play in tune without vibrato, and play with true propulsion and intensity in your phrasing with no vibrato, should you allow it back in. Then it will fulfill its true purpose of making your playing more beautiful.

Common Problems when Playing the Oboe

Problem: Poor low register (below G) response, with explosive attacks and loud dynamics
Possible Causes:
  • the reed is too stiff and open
  • the student is biting too much, or has too much reed in their mouth
  • the oboe is leaking
  • the students fingers are not covering the holes completely


Problem: Poor low register response with shallow tone, imprecise accuracy and clarity; often the lowest notes "gurgle"
Possible Causes:
  • the student is biting too much
  • the reed too far in her mouth
  • the reed is too stiff and closed
  • the oboe is leaking


Problem:  Left Eb does not speak easily
Possible Causes:
  • when the student uses left Eb, she loses the note, because the left little finger pulls the left forth finger off the key


Problem: The response of Low register or right hand notes is intermittent
Possible Causes:
  • sometimes notes in the right hand do not come out, but sometimes they do because probably the middle tenon is wobbly, and the F# to G# adjustment is out, and the student is accidentally hitting the right G# and opening the key.


Problem: Half-hole notes speak down the octave
    Possible Causes:
  • the half-hole is not being opened enough




Problem: Notes gurgle
    Possible Causes:
  • there is water in a key, or octave vent


Problem: Attacks are unclear, and not predictable
    Possible Causes:
  • the student is not building up enough air support before starting the note
  • the reed is unresponsive
  • the student is biting too much
Solutions:
  • loosen reed
  • work on flexibility exercises with student; practice whistling to get
  • the jaw down; practice having less reed in the mouth
  • get oboe repaired
  • make sure the student is covering the keys with the balls of their fingers; check the fourth finger in each hand in particular; make sure they are not hitting any trill keys or side keys




Solutions:
  • work on flexibility exercises with student; practice whistling to get the jaw down; practice having less reed in the mouth
  • loosen reed or use a new reed
  • get oboe repaired





Solutions:
  • Put a piece of tape covering the hole of the 'G'key
  • make sure the student is covering the keys with the balls of their fingers; check the fourth finger in each hand in particular; make sure they are not hitting any trill keys or side keys



Solutions:
  • fix the tenon ie: replace the cork (unfortunately, the joint may still wobble, so cork/glue may need to be added to the wood of the tenon)
  • work on curving the fingers more: make sure the student is covering the keys with the balls of their fingers; check the fourth finger in each hand in particular; make sure they are not hitting any trill keys or side keys





Solutions:
  • make sure the finger is sliding to open the half hole
  • use nose/forehead grease to get finger to slide more
  • check that the fingernail (first finger left hand) is not too long


Solutions:
  • look for the next open key below the note that gurgles, or the appropriate octave key
  • use cigarette paper (ungummed) to clean out: works best if other keys and the end of the joint are covered (hard with the bottom joint), and the water is blown out from the inside


Solutions:
  • work on placing the tongue on the reed, building air pressure, then starting the note by taking the tongue off the reed
  • make the reed more responsive
  • work on flexibility exercises with your student
Problem: Notes squeak
    Possible Causes:
  • the student is biting too much, or not rolling out enough
  • the student is moving his jaw too much
  • the reed is too closed and/or weak
  • the fingers are not covering properly

Problem:  Student has trouble getting high d to respond
    Possible Causes:
  • the student is biting too much, or not rolling in enough
  • the student is not opening the half hole enough ( the finger can be taken off the half hole when slurring to the high d)
  • the reed is too vibrant
  • the fingers are not covering quickly enough


Problem: Student blips when going over 'the break' to C# or D
Possible Causes:
  • the student is not moving her fingers at the same time
  • the student is not opening the half hole enough
  • the student is not blowing enough between the notes
  • the fingers are not covering quickly enough



Problem: Student blips when going over 'the break' to C# or D
Possible Causes:
  • the student is not moving her fingers at the same time
  • the student is not opening the half hole enough
  • the student is not blowing enough between the notes
  • the fingers are not covering quickly enough


Problem: Student chin 'crumples'
Possible Causes:
  • the student cannot keep air pockets out of the embouchure
  • the student cannot keep correct embouchure for very long
  • the student cannot control reed easily


Problem: Low register is flat/sharp
Possible Causes:
  • the student has loosened/tightened his embouchure too much
  • the student has too little/too much reed in their mouth


Problem: High register is very sharp, pinched
Possible Causes:
  • the student is probably biting too much instead of rolling in and supporting the tone with air
  • the reed could be very closed and sharp
  • the 2nd octave key vent could be tuned sharp




Problem: High register notes are flat/unstable
Possible Causes:
  • the student does not have strong or consistent enough air support
  • the student is not rolling in enough, or has too loose an embouchure
  • the reed is unstable
  • the student is opening their throat too much



Problem: 2nd space C is flat sharp, or ugly sounding
Possible Causes:
  • the embouchure and air placement is not quite right
  • there is water under the 'C' key




Problem: Too soft in high register
Possible Causes:
  • student is not using enough air support
  • student is biting too much instead of rolling in
  • reed is not loud enough, most likely too closed



Problem: Student can not diminuendo smoothly, or play softly: tends to be sharp in soft dynamics
Possible Causes:
  • student is not using enough air support
  • student is not closing around the reed enough
  • student is not pulling reed out of mouth enough
  • reed is too unresponsive


Problem: Forked f is stuffy, unresponsive
Possible Causes:
  • design of the oboe
  • embouchure is not helping the note resonate enough




Problem:
Tone is generally harsh, and not in control
Possible Causes:
  • too much reed in the mouth, usually with the lips not rolled in enough
  • the reed


Problem: Tone is generally flabby , unfocused and dull
Possible Causes:
  • too little reed in the mouth, or the student has very full lips that are rolled in too much
  • student could be biting too much
  • not enough air support
  • the reed
_Solutions:
  • work on keeping the jaw open and steady, while finding the correct placement of the reed on the lips
  • work on flexibility exercises with your student
  • make the reed stronger: soak longer in hot water
  • make sure the student is using the balls of their fingers

Solutions:
  • work on flexibility exercises with the student
  • use nose/forehead grease to get finger to slide more
  • work on reed, possibly clipping the tip
  • work on slapping the fingers on the keys to help get them synchronized




Solutions:
  • work on slapping the fingers on the keys to help get them synchronized (don't lift them too high above the keys)
  • use nose/forehead grease to get finger to slide more
  • work on blowing air to the very end of each note; practice slurring passages
  • have right hand already in position over the keys before it is needed; get the fingers ready the beat before

Solutions:
  • work on slapping the fingers on the keys to help get them synchronized (don't lift them too high above the keys)
  • use nose/forehead grease to get finger to slide more
  • work on blowing air to the very end of each note; practice slurring passages
  • have right hand already in position over the keys before it is needed; get the fingers ready the beat before

Solutions:
  • work on pointing the chin, and keeping the chin flat by pulling the lips over the teeth. Practice without the reed, and try checking, and re-adjusting at the end of each phrase.


Solutions:
  • try the opposite



Solutions:
  • strive to use the embouchure and jaw less for biting and more for rolling in
  • make sure the student has good air support
  • get a new reed, or try soaking the old reed in hot water, and gently opening the tip with the fingers
  • get oboe looked at by a qualified repair person



Solutions:
  • make sure the student has good air support; work on holding it steady
  • work on keeping the embouchure steady and rolled in
  • get new reed or close the opening of the reed by squishing the back when it has been properly soaked
  • use the vowel 'e' to close the throat


Solutions:
  • work on 'rolling out' to get flatter, and rolling in to get sharper. Experiment with the amount of reed in the mouth and the opening in the mouth
  • clean out the water with cigarette paper
  • work on reed: squish and/or clip the reed


Solutions:
  • work on scales with a crescendo ascending (using the air), and saving a decrescendo until the bottom of the scale
  • work on flexibility exercises that practice rolling in and out instead of biting
  • open the reed with hot water


Solutions:
  • work on building the air support
  • work on flexibility and strengthening exercises
  • start small: work first on slight dynamic changes, for instance playing slightly softer at phrase endings. Do this by pulling the reed out of the mouth slightly to get a softer sound
  • loosen reed


Solutions:
  • get a new oboe
  • use more air support: this will also help with slurring to forked f
  • more embouchure flexibility to help the note resonate: experiment with placement and air support
  • adding the Eb key can help, but may cause the note to be sharp


Solutions:
  • work on having less reed in the mouth, and rolling the lips in more
  • new reed, or try thinning the sides of the tip and clipping




Solutions:
  • work on having more reed in the mouth, and rolling the lips just as much as they need to be rather than biting
  • increase air support
  • demonstrate sound to the student as they may be trying for too dark a sound
  • new reed, or try thinning the sides of the tip and clipping

Pitch Tendencies - Tuning Guide

    1. Notes with with Problems
        a. Third space C use "awh" embouchure
        b. Second line G down tends to be flat
        c. High A up usually flat because not enough air pressure
        d. Top space E, F#, G are sharp
        e. F natural tends to be flat
    2. To lower sharp pitch
        a. Drop jaw
        b. Less reed in mouth
    3. To raise flat pitch
        a. Intensify air stream
        b. Put slightly more reed in mouth
        c. Can clip reed a tiny bit
Picture
Oboe Tuning Guide.pdf
File Size: 694 kb
File Type: pdf
Download File

Warm up Suggestions

Tone and Control Begin with the slow D Major scale shown below. There are four goals:
  • Each note should have the most beautiful, easy, resonant sound possible. Use minimal embouchure tension and no vibrato - all the control should come from the air.
  • Each note should be in tune. Usually, if the sound is working, the pitch will be good also.
  • There should be the most perfect legato between notes. Move your fingers with great care, keep them close to the oboe, and don't let the air die between notes.
  • Each note should sound like each other note. Not only should adjacent notes have the same tone color, but the high register and the low register should also sound alike.

Do this exercise three or four times, or until you're satisfied with the result. Listen carefully, and insist on the most perfect execution possible. When the D Major scale is really beautiful, switch to a D-flat Major scale and try to get the same results.
Picture
Long tones are next. Be sure you accomplish the following:

  • The beginning and the end should be as soft as possible. My teacher, John de Lancie, likened the attack at the beginning to a "hot knife going into butter," and the end to "smoke rising in the air" ­ you can't be sure when the smoke ends and the air begins.
  • The forte in the middle should be as loud as you can play without forcing.
  • There should be no dips or wiggles or wavers in the sound.
  • Pitch must remain constant.
  • The long tone needs to be active throughout. Don't start soft, get loud, stay loud, and get soft. It should always be getting louder or softer.
  • No vibrato. If a trace of natural vibrato appears at the very top of the tone, that's fine.
Again, do this three or four times, or until you're satisfied with the result.

Picture
Here are two variations to try after the steady tone is really good. The first is moderately difficult, the second is extremely difficult.

Picture
Picture
Technique Technical warm-ups are next. I begin with scales: all major and minor scales (three forms). The range of the scales will differ from individual to individual. I recommend full-range scales (composers rarely oblige by writing them neatly from tonic to tonic). Start from the tonic, go to your highest note, go down to B or B-flat, and back to the tonic. Younger students should be able to play with facility to high E-flat. More advanced players need facility up to high G. Use the metronome and set it at a speed where you can play the scales smoothly, evenly and cleanly. Never exceed a speed that you can control. Ease and facility will come from well rehearsed, frequently repeated correct motions. Speed without control is frightening. I play sixteenth notes at 112 on the metronome, but this and other metronome speeds should be regarded as suggestions only. Begin at a tempo where control and smoothness are possible.

Then, major scales in broken thirds. Again, play them full range beginning and ending on the tonic. Sixteenth notes at 92.

Then, the first two pages of the Vade Mecum of the Oboist. I play them at 116-120, but if you've never learned them, you may have to start at half that speed.

Then, practice articulation. I just use an easy scale (F Major or G Major) and play it for one octave with four (or eight) repetitions on each scale degree. Start at a speed you know you can manage (I start at 100 playing sixteenth notes), and increase one click at a time until you reach maximum. Then (and this is important), go back down one click at a time until you're out of the danger zone and can play with freedom and relaxation. For variety, use the exercise on page 16 of the Vade Mecum and apply the same practice method, changing the speed every four measures.

You may want to vary this routine to suit specific needs: diminished arpeggios, whole tone scales, pentatonic scales, scales in broken fourths, scales in broken octaves, etc. could be included if your repertoire demands it. Also, there are many good books - Bleuzet, Gillet, Debondue, etc. - that include a daunting variety of scale exercises.

The aim of my whole warm-up is to be as efficient as possible and to cover the most useful territory in the shortest time. Once learned (which takes a while), this whole routine shouldn't take longer than half an hour, and prepare you to play well for the rest of the day.

Method Books

Barret. Oboe Method: The complete original edition of the time-tested oboe method, which includes many etudes, duets and performance pieces.

Gekeler, Kenneth. Method Oboe Book 1 & Book 2: Book I of this time-honored method progresses slowly and carefully for beginners, establishing a firm foundation. In addition to the excellent selection of melodic studies, there are many duets for teacher/student playing. With the more advanced melodious and technical studies in Book II, the method covers the gamut of oboe playing, and is an essential part of the educational literature for oboe.

Pares, Gabriel. Pares Scales. (Rubank) An excellent beginning technique book.

Sellner, Joseph. Mèthode pour hautbois ou saxophone, Bk. 2 (Costallat)
An excellent collection of short etudes for practicing articulation, phrasing and technique.

Snavely, Jack. Basic Technique for Oboe. (Kendor Music) An excellent intermediate technique book.

Hite, David. Foundation Studies. (Southern Music Company) An excellent technique book, employing scales, chords, etc.

Andraud, Albert. Vade-Mecum of the Oboist. (Southern Music Company) Many good technical exercises and studies. Excerpts are included, but are not always accurate.

Oboe Solo Literature   

Title             
Preludio
Bacchanale (Book IV of Clavier)
Marche (Suite No 5. Clavier)
Sarabande
Rondo (Divertimento No. 11)
Rigaudon (Pieces de Clavecin)
Presto (Divertimento No. 12)
Menuet (Three Piano Pieces)
Piece V
Two Contrasts
A Sonnet
Meditation (Sonatine in F)
Siciliana
Allegro (Trio No. 4)
Berceuse (Opera Jocelyn)
Rondeau (Book X for Clavier)
Marche (Book IV for Clavier)
Allegro (Trio No. 19)
Aria et Valse
Gavotte in Rondeau
Gavotte (Harpsichord Suite No. 5)
Masterworks Solos (Volume One)
Musette (Anna Magdalena Bach Notebook)
Apres un Reve
At the Ball
Berceuse
Chanson Modale
"abel" Le Hautbois Dormant
The Earle of Oxford's Marche
Sonatine
Concerto for Oboe and Strings (Piano)
Concerto
Reflections
Andantino
Autumn Fantasie
Shadow Dance and Lament
Andante and Presto
Rigaudon & Novelette (Album for Children)
Impressions for Oboe and Piano
Interludes for Oboe and Piano
Sonata in G Minor
The Winter's Psed
Nocturne and Dance
Aubade
Danza Italiana
Gavotte and Gigue
Concerto in Si b
Gavotte
Elegiac Dance
Presto
Concerto Op. 7, No. 6 (in D Major)
Concerto Op. 7, No. 3 (in Bb Major)
Concerto Op, 9, No. 2 (in d minor)
Sonata in C Major
Largo and Allegretto
Concerto in C Minor
Concerto in G Minor
Sonata in G Major
Twelve Variations on a Theme by Schubert
Concerto on Themes of Pergolesi
Concerto
Concerto for Oboe and String (Piano)
Romance Fantaisie
Sonata in G
Sonata in g-moll
Sonata in C
Nocturne
Introduction, Theme & Variations
Concerto in Mi Bemolle
Concerto in C for Oboe and Orchestra
Conceto in C, K. 314
Composer
Cacavas
Couperin
Purcelli
Corelli
Mozart
Rameau
Mozart
Marpurg
Franck
Hammer
Brahms-Cacavas
Buchtel
Pergolesi
Druschetzky
Godard
Couperin
Couperin
Druschetzky
Emonet
Lully
Purcell
Arr. Dishinger
Bach
Faure-Davis
Tchaikowsky
Mindlin
Lacour
Lacour
Byrd
Weinberger
Corelli-Barbirolli
Leopold Mozart
Tovey
Dremlyuga
Baird
Baird
Telemann
Chaminade
Duck
Jacob
Telemann
Barlow
Schudel
Jacques
Solomon
Boyce
Cimarosa
Head
Head
Head
Albinoni
Albinoni
Albinoni
Loeillet
Marcello
Marcello
Handel
Sammartini
Siniguaglia
Arr. Barbiroli
Cimarosa
Eichner
Chidoni
Boni
C. PH. E Bach
Besozzi
Rosel
Hummel
Bellini
Haydn
Mozart
Publisher
BM
Medici
Medici
Medici
Medici
Medici
Medici
Medici
Spratt
Emerson
BM
Kjos
Rubank
Medici
Medici
Medici
Medici
Medici
Editions R. Martin
Medici
Medici
Medici
Medici
Western
JTL
Leduc
Billaudot
Billaudot
Medici
Fischer
B & H
Fischer
Airy Pub.
Southern
Concert Works
Southern
Southern
Medici
Oxford
Emerson
Southern
Fischer
Shawnee
Stainer & Bell
Southern
Chester
Billaudot
B&H
B&H
B&H
B&H
B&H
B&H
Chester
Chester
International
Rubank
Chester
Trillenium Music
Oxford
B&H
Oxford
Leduc
Chester
Amadeus
Chester
International
Music Rara
Ricordi
Oxford
Southern

Extended Technique

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Helpful Links and References

Teaching Oboe in the Schools, American Band College Ashland, OR
Dixie Detgen, cddetgen@sbcglbal.net

http://fairyoboemother.blogspot.com/2010/04/selecting-oboe-reeds.html

http://www.karenbirchblundell.com/index.html

http://andrewhugill.com/manuals/oboe/extended.html

http://www.theoboesite.com

http://www.windshoppe.com/oboecare.htm

http://www.public.asu.edu/~schuring/Oboe/Warm-up.html

Youtube Videos

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